In the Mood for Love (2000)
Reviewed by: cal42 on 2006-09-07
Newspaper writer Chow (Tony Leung Chiu-Wai) meets Secretary Su (Maggie Cheung). Both are lonely as their spouses are frequently working abroad and supposedly having an affair, so they get together to be surrogate partners. This sparks an inevitable feeling of kindred spirits and the first flashes of romance between them. The question is: will they give in to their feelings for each other, or will they do the honourable thing?

I’m well aware of how utterly adored IN THE MOOD FOR LOVE is, being probably the most well known of all of Wong Kar-Wai’s films, especially overseas (i.e. here). But I didn’t like it on the first viewing and now, on third viewing, and in context with his other work, I’m finally convinced I’m never going to like it. In fact, I’m quite sure I’ve liked it less and less with each subsequent viewing.

Before going into details, a little more about the plot. Well, this being a Wong Kar-Wai film, there isn’t a plot as such, but the film focuses solely on the two would-be lovers. There isn’t any great surprise there, but gone are the film-noir voice-overs to let us know what they are thinking. This isn’t a bad thing, actually, in retrospect, as when they reappear in the sequel you realise it was becoming quite a clichéd device anyway. However, what now happens is you get long periods of silence that feel quite uncomfortable. According to Maggie Cheung, the plot of the movie was left on the cutting room floor while what remains is hints and insinuation. Again, a nice idea in theory, but I don’t really think the remaining material stood on its own merits.

So, it’s vague. Very vague. Which I can handle. I can even handle the deliberate slow pacing (something that I’m appreciating as I get older). That does not bother me. What does is a multitude of things. Firstly, I never really buy into the characters and I’m confused as to whether Chow and Su’s respective partners are having an affair with each other or whether it’s just a co-incidence that they’re both absent. I’m not sure Mrs Chow even is having an affair, let alone Mr Chan. I’m sure that’s part of the point, but the idea of infidelity just comes out of nowhere in the movie with Chow practicing with Su how to handle the confrontation when and if it happens. Next up, Wong’s sense of using music seems to have deserted him completely. The (presumably original) theme tune is good, but is used throughout the film whenever something happens (or, indeed, doesn’t happen) between the characters. It gets old pretty quickly, especially when you’ve already watched the film a couple of times. Finally, and most unforgivably, the end is blatantly recycled from his previous movie HAPPY TOGETHER. Seriously, substitute a lighthouse at the end of the world with Angkor Wat and replace the friend with one of the central characters and it’s virtually identical. I’m amazed more people haven’t actually noticed this, and can only assume they haven’t seen the earlier film. I’m pretty sure the Cannes crowd wouldn’t have seen it anyway (which is their loss).

So griping over (for now), even I have admit there are a few highlights. The scene where the couple are chatting with the pretence of buying presents for their spouses and then admitting to each other that their partners already own the discussed items and admitting that they knew each other’s spouse already has the item is great, as is the scene where Su is essentially trapped in Chow’s apartment overnight because she can’t get out without being spotted my their Mahjong playing neighbours. Also of note is little scene where the tenants are cooing over a new rice cooker which is quite amusing, and the only obviously light touch to the movie. On the photography side of things, Christopher Doyle’s style seems a little reigned in for this one. By that, I mean he does a splendid job, naturally, but he isn’t as “obvious” or showy as he can be, and that does suit the piece well, I freely admit.

So there we have it. A lot of people’s favourite Wong Kar-Wai film. Hell, a lot of people’s favourite film of all time. And I’ve just gone and trashed it. And what’s more, I’m supposed to be a fan of the man! I hope what I’ve written hasn’t pissed too many people off, and I hope I’ve made a good case as to why I think it’s the most disappointing Hong Kong film he’s ever made (AS TEARS GO BY can be forgiven under the circumstances). But I figure I’m allowed the odd difference of opinion on classic films every once in a while. I really wish it wasn’t so, but this is one Wong Kar-Wai film I can live without.
Reviewer Score: 3